1. Under a Cherry-tree (03:23) 2. The Golden Skull (06:30) 3. Near Life Experience (07:34) 4. Don't Leave Me (04:40) 5. Sambation (07:08) 6. Henbane (07:49) 7. Under a Сherry-tree, with Cherries and the Golden Skull (10:14)
'‘Cherries’ is an esoteric enactment whether by intention or chance that delivers an especial augural presence, a leaden despondency of uncanny movements and other recondite legerdemain, which is become eerie because of certain intimacies.
Led by the phantasms of ‘Under a cherry-tree’, the listener schools a familiarity of Agnivolok’s stylistic flair in approaching traditional folk. Thinning vocals are fleeting masks at a drugged masquerade ball, swirling circuitry oscillates with accordion ballad, swelling drones more viscous than ethereal chime with otherworldly bells and tortured samples. Murky accordions are woven onto an ambient canvas, stitched into dark and ominously pagan visuals. There are dim allusions made as the mind brings to the surface The Moon Lay Hidden Beneath a Cloud or The Soil Bleeds Black, whose own stylistic formations can be seen in the memorable medieval phrasing carved with mechanical drills mimicking martial percussion and bowed pipes Agnivolok employ. Yet unlike the aforementioned acts, Agnivolok spends more time in the surrealism and liquidity of dreams, the music wrestles equally with the anatomy of illusory samples as it does its hypnotic outcries. Reversed reverb envelops somber trancing guitar melodies like bubbles forming underwater, the furnaces meanwhile steam and compress peculiar accompaniment. Ambient leviathans break the oneiric folk dream with metal-laced bellies as they swim poisoned oceans. Vera Agnivolok’s voice, while perhaps dulled by the overall psychedelic mastering employed on the album (recorded in 2001), remains diverse in its unexpected vocal lines piquant to the heart.
This digipak comes uniquely styled in a lime sheen with the album’s namesake rubrically in clumps of three in art nouveau illustrative style. The Cyrillic text on the outside matches translation with English, not only just for the cover, but for all liner notes. The card of the release is printed on high quality satin card, which folds out to triple gatefold splendour. The disc itself sits nestled floating on the central card with soft cushion button, yet it itself maintains the stylisms and design motifs flawlessly.'